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Post by SageStageMgr on Sept 12, 2018 22:37:47 GMT
“The original Miss Saigon returns”, reads the poster.
Flagrant false advertising 😉
The character of Gigi wins the title of Miss Saigon - as played by Isay Alvarez.
UNLESS Isay Alvarez is performing with the original Kim of Miss Saigon, in which case, why no billing to help sell tickets?
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Post by SageStageMgr on Sept 12, 2018 22:32:31 GMT
If they spent money on focus groups as well as this dreadful trailer, I suggest ACE makes a suitable deduction from the next settlement for having wasted public money! This is not the way to attract people to see one of Shakespeare's more challenging and dense plays. I pay no attention to these trailers as they tend to bear no relation to the actual production. Is that not like just accepting you will get red wine when you order white? Yeah, both are palatable when done acceptably, but if you thought you were buying one thing and got served another, you might get fed up after a while. RSC has a huge marketing and accessibility problem; they have had for decades. They pitched the Anthony Sher King Lear tour as being, basically, The Lion King, then wondered why children couldn’t warm to it. Shakespeare isn’t an easy connect with younger viewers; RSC fail consistently.
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Post by SageStageMgr on Sept 12, 2018 22:25:34 GMT
Carrie Hope Fletcher, every single morning.
*jumps up and down and waves arms* “LOOK AT ME, LOOK AT ME, LOOK AT MEEEE”
... 3 minutes later ...
“Stop staring at me! This is harassment! Why won’t you all leave me alone?!”
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Post by SageStageMgr on Sept 12, 2018 22:20:11 GMT
I take it the cast are using Zimmer frames then?! There's a great Zimmer frame-dance number in it now. Joking aside, there may need to be if this carries on. I first saw Mark Hutchinson play an 8 year old boy over 23 years ago.
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Post by SageStageMgr on Sept 12, 2018 22:16:37 GMT
The Dominion isn't really that much of a downsize. It has 2,069 seats and the Apollo Victoria has 2,304, only a decrease of 235 seats. I only think they'd move if sales were really flagging, which at the moment, they don't appear to be. I hear you. But from my (limited) experience of theatre management, I’d suggest that a lot of it comes down to existing deals/negotiating skills... paying well over the odds is quite possible, as is getting a very cushy deal. Negotiation skills, existing deals and just force of buying power can swing this to extremes. Just in terms of theatrical agents - and I’m sure many won’t thank me for making this practice public, but have you ever noticed how you see one show, then another and it contains several or more of the same cast? Check their representation. Producers may receive a combined finders fee should a producer secure more than one of an agency’s clients per contract. “Oh you like him? Well this guy would be great for a part too - you saw him at audition...” Savings of thousands and thousands of pounds.
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Post by SageStageMgr on Sept 12, 2018 22:10:30 GMT
Did the rest of the audience join in? Thankfully no. I don’t think everyone was drunk enough to even try it! Ha! Ace return, server has no answer...
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Post by SageStageMgr on Sept 12, 2018 17:00:25 GMT
I really enjoyed the Kings Cross Theatre - big open plan space, immaculate washroom facilities, an actual disused train line going through it...
Reasonably priced bar, plenty of staff, lovely art work all themed to the production. And at fringe prices for a couple of outstanding productions (The Railway Children and In the Heights).
Worst... probably the Majestic Theater on Broadway, so dark and grotty. Feels very seedy - which would play into the Phantomy-feeling if it wasn’t quite so ghastly.
Over here I never liked the Novello, pokey and smells funny. The Adelphi is just really poor in every sense. The foyer is a corridor ala The Queens and it’s no better when you get into the auditorium - not a good seat in the house.
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Post by SageStageMgr on Sept 12, 2018 16:48:16 GMT
Had to laugh. This looks absolutely horrible. You can listen to focus groups TOO much, RSC...
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Post by SageStageMgr on Sept 12, 2018 16:43:06 GMT
Just on Mark Inscoe, I didn’t see him in this, but I’ve seen him in a few roles previously and I got to know him as a nipper. He lived near me and helped out/directed with a local theatre hobby group.
One of the nicest guys in the business and a solid, consistent worker with a great voice. He also hasn’t aged a DAY since I first met him, oover 15 years ago. If you’re reading this, Hi Mark!
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Post by SageStageMgr on Sept 12, 2018 16:36:14 GMT
Jason Manford IS Nathan Detroit. In related news, I will not be buying a ticket. Fillet steak IS the entree!
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Post by SageStageMgr on Sept 12, 2018 16:34:28 GMT
every time Richard Winsor took off his shirt giving a number of shouts of approval for his well toned body. . Did the rest of the audience join in?
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Post by SageStageMgr on Sept 12, 2018 16:31:34 GMT
Or to secure a more favourable lease.
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Post by SageStageMgr on Sept 7, 2018 19:05:36 GMT
A long time ago my parents gave me a sage piece of advice - which anti-social media users should adhere to. "If you've nothing good to say, it's best to say nothing at all". So, regarding this show, I have nothing to say. PM me if you’re not comfortable discussing openly? Would love to know if my musings were too harsh in hindsight - and if you could recognise the issues I had with it?
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Post by SageStageMgr on Sept 5, 2018 22:46:22 GMT
Oh god! I'm going tomorrow!!!! You may very well completely disagree! It wouldn’t be the first time. But I really can’t find anything good to say about what I saw, except that the sound levels were fine and it started on time.
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Post by SageStageMgr on Sept 5, 2018 20:09:14 GMT
Right; reading back through this thread, I have to laugh. I don’t think I’ve ever been so far apart opinion from the consensus.
I’m not one to leave early from shows - sure, if something is just not my cup of tea, I might go at the interval on occasion, with due respect to what the production is trying to achieve - especially with a long journey home in mind.
But this was something else. I lasted 35 minutes. Unquestionably my personal worst ever touring musical production. Frankly, a new low in professional musical theatre.
I should say at this point, that the review was the (part of the) show I saw, on opening night, on the first show of the whole tour. I’m sure aspects of the below will improve - they honestly couldn’t get any worse, so it’s pretty much a given.
And the reason I left is as it wasn’t getting any better in my personal view, although that’s not to say that the second act wasn’t potentially a lot better.
The audience was small tonight, with the higher levels closed. They were muted throughout, and two parties had left (one hadn’t come back by the time I went). But taste is subjective and I’ve seen people leave perfectly good shows, so this shouldn’t colour any opinions.
There was a wobble at the top of the show, with the followspot flickering a bit on the front curtain. But the show went up on time, to its credit.
Now, I’ve listened to the cast recording once or twice in the past and found the material inaccessible, because it feels somewhat dated even by “old fashioned musicals” standards. But I recognise there are a few ear-wormish tunes. I certainly wouldn’t say I was a fan of the material before booking, but I’ve been won over by shows of its kind more times than I care to remember. I often find having low expectations helps me to enjoy a show more and not judge everything too critically or by world class standards.
The house curtain flew out. A gazebo centre stage housing the pianist/MD, a percussionist and what appeared to be an all-rounder. A band of three, excluding the plot-central actor musician at the “magic” piano. If I’m wrong and more actor-musicians arrive throughout the show, please tell me and I’ll edit my review so it isn’t misleading.
I should mention at this point that a premium seat on Saturday night for this show costs over £45 to book through ATG online.
The set is embarrassing. While I was watching, it consisted of a gazebo, some patio furniture and the upright piano with a flowery pattern painted on it. The cyclorama (the plain white screen at the back of the stage) various colours, lit by a row of LED lights underneath. That forms the “backdrop”. “An American in Paris” used projection cleverly, although I wasn’t mad crazy about the show, it was a top-price worthy West End experience. This has coloured LED bulbs. And I paid £30 for my seat at THAT show.
The production values are atrocious, across the board. It looks way below recent amateur productions which I’ve seen (such as a brilliant “Chess” in Lewes). It is without doubt the single cheapest looking professional touring musical I have ever, or likely will ever see.
The first thing I noticed as the show started was the state of the floor. Good grief!!! I don’t even know where to start. I’m guessing it was recycled from either a different long-running show elsewhere, or this production but in a much smaller space of the Union. It has dirty black scratch marks all over it (not part of the design) and should never have been allowed to open in that condition.
But the worst part is that it doesn’t come close to fitting the (already not massive) stage at the Brighton Theatre Royal. The “playing space” stops about 3 feet short of the wings. How can something like this happen?! As a theatre professional myself I would be ashamed of this work. I wouldn’t let this happen in an amateur show either.
Worse, the hanging black cloth masking was nowhere near flush to the floor, in fact, it was at least a foot clear of the floor. This means a) it looked really naff and b) you could see the feet of the actors waiting to enter (more interesting than the stage theatrics).
The lighting was dreadful. Sub am-dram. The followspot wasn’t lighting the principal actors’ faces! Far too many shadows on the stage - and they lit the whole thing rather than just the playing space, making that gap between the floor and the bare stage look even more prominent as the actors awkwardly rushed to the wing masking.
I could hear everything loud and clear, the microphones worked and the musicians were playing in tune.
The performance was very flat, there wasn’t applause where there should’ve been. It was very muted and bemused by those around me, although I tried to lead a bit as I felt a bit bad for the performers.
The acting was very stilted and awkward though, I’m afraid. It seemed under-rehearsed (unsurprising given the general lack of money which has gone into this show). One number in particular, “Find Yourself Something to Do” was a mess. Actors out of time with each other, with the band out of time with them. It was head in hands bad, like the first time they’d done it in full. I’d suspect here that this was an issue with foldback (the singers being able to hear the band and vice-versa) rather than ability.
I hand on heart can’t remember a cheaper, poorer standard professional tour of musical theatre in this country.
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Post by SageStageMgr on Sept 5, 2018 17:28:23 GMT
I thought several people earlier in the thread was saying this definitely, absolutely 100% wouldn’t transfer? Were some of you wrong, or have I misunderstood?
I’m hugely confused, Ted
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Post by SageStageMgr on Sept 5, 2018 17:23:59 GMT
I have a question about the current London cast. I think Amy Manford is wonderfully cast, she has the look, poise and sound of a Christine. The tone of her voice has the right balance between innocence and classical strength. This role needs to radiate youth and beauty and is quite difficult to cast but they hit the nail right on its head here. Without being disrespectful to another performer, it kind of startles me that the first cast Christine, Kelly Mathieson, does not fit the role at all in my opinion. No doubt she is a well trained singer, but the sound of her voice is too mature for the role, too trained, has a color that does not suit the role, and she does not look like a Christine in the slightest. About every chorus girl looks more like a Christine than she does. She is actually the ideal Madame Giry too me, in terms of voice, poise and look. I think this is really a pity, as they feature this lady on the promotion pictures and the commercial etc, which does not reflect well on the show. This is not at all her fault, but I kind of blame the casting directors. She does what she can and she is very talented, just not right for the role. I have seen the show on Broadway and in London many times (as well as other places in the world) and I have seen many wonderful Christines. A strange thing I noticed that a few years back on Broadway they used to cast Christines that looked and sounded like Madame Giry's too (Rebecca Pitcher for example) and in London they used to cast more truthful to the character. They broke this habit on Broadway with the wonderful Kaley Ann Voorhees, another girl who is a real Christine in my opinion, but now it seems they break the habit in London too, but then the other way around? I really don't understand this. I’m sure someone had this exact discussion earlier in the thread 😊
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Post by SageStageMgr on Sept 5, 2018 17:22:56 GMT
Anybody seen the new Phantom yet this week? What's he like? Yes I saw his first night so hard to judge on the first performance but there were a few missed notes and cues. Vocally he was nowhere near the strongest Phantom I've seen. He was also very angry, he threw Christine around the stage so much in the finale that I felt myself cringing every time she fell to the floor! I missed the vulnerable side to Phantom. I'm heading back on 4th October to see the U/S Raoul so will get to see how he's changed in the part then. Which notes and cues, out of idle curiosity?
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Post by SageStageMgr on Sept 5, 2018 17:19:19 GMT
This opens in Brighton tonight - anyone else going?
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Post by SageStageMgr on Aug 31, 2018 22:17:39 GMT
I was there last night. I thought the 3 "Bee Gees" should have been allowed to come down to the front of the stage to take the final bow as they did virtually all the singing.Quite different from the original production. Did you enjoy it?
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Post by SageStageMgr on Aug 30, 2018 1:13:23 GMT
Thanks for your quick replies, I shall mention it to my wife and see if she feels able to deal with it. Thank you both so much! Not a problem, sorry to read of your loss. Perhaps it’s also worth mentioning that the Phantom’s magical lasso makes a reappearance in the final scene when he uses it on Raoul (as, indeed, he does in the movie.) Very much this. In the final scene a character mimes being chosen slowly strangled by a noose.
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Post by SageStageMgr on Aug 30, 2018 1:12:07 GMT
I know it's been said before, but after hearing the original cast recording of One Day More just now on EP's show, it's performed a lot faster now! The whole show is, in comparison. A line or two here, a bits and pieces throughout. But the general tempo of the show has gotten faster and faster even in the last ten years.
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Post by SageStageMgr on Aug 27, 2018 17:58:09 GMT
I haven't worked with her, obviously, but I was just curious about her drawing power and why, exactly. Thank you everyone for getting back to me! Again, no offence intended to anyone.
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Post by SageStageMgr on Aug 27, 2018 13:03:04 GMT
So, I saw her Roxie Hart and the Lady of the Lake in Spamalot, and found her average - is that just me?
Or is there stuff she used to do when she was younger (not Doctor Who or Dancing on the Ice) which is her big 'thing'?
Edit: Oh and Adelaide in Guys and Dolls!
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Post by SageStageMgr on Aug 27, 2018 10:28:25 GMT
I don’t mean to go off-topic with this...
But someone explain Bonnie Langford’s popularity to me? Reading through these comments, she’s clearly very popular with the theatre set, in a Patti Lupone/“La Whoever” sense. Admittedly, I’ve only seen her in a few things and I wasn’t exactly blown away. And the times I’ve seen her as a personality I’ve found her a little bit false. All teeth and showbiz. A bit irritating to be honest.
Again, I accept I’m in the minority here and I’m not trying to derail things or start a flame war. I’m just curious what it is about her which seems to click with you guys. Was there an iconic role she owned, or is she just considered a great all-rounder?
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Post by SageStageMgr on Aug 25, 2018 14:14:26 GMT
Taking a bit of rare traditional sat-at-computer time to write up my personal opinion of Chicago on Wednesday night.
In short, I was genuinely surprised in that first of all, a) I stayed until the end and subsequently b) I really bloody enjoyed it.
I love the material. It's a brilliant show if done right. I've written about it extensively in the past in previous blogs. But, with respect to the audience who read this, I can't be raised to retrace those old comments. In short, I love the film adaptation, and given the poor quality of the casts and the tired nature of the show at the Adelphi and the Cambridge on the occasions I've seen the show previously, I didn't expect much - at all.
Preface: I bought a ticket on the day, row A of the Grand Circle (front row of the highest level). It was sound as restricted viewing for £25 (including discount) from TKTS and represented frankly excellent value. The Phoenix isn't exactly a barn and I felt (at least vertically!) very close to the action. But I'm sure the ever phenomenal Monkey will correct me if I'm being too compensatory! The reason for the cheap ticket and last minute nature is because of the above. Chicago has tended to be really, really poor in the West End in previous visits. And by 'tended to be', I mean 'exclusively has been'.
Onto the show...
First - the band are terrific. After some audible (even to non-musicians like myself) mistakes in the overture, the band were excellent and sounded gorgeous from thereon. I'm sure musicians will explain this for me as a backstage-type? Lack of warm up? Finding your pitch?
I didn't warm to it quickly. Initially at least! All my worst fears appeared to be coming true. The ensemble appears vey small (smaller or very close in size than the band? - I didn't count) and full of very pretty people. Which is fine, if they are good enough. Truth be told, they are. The dancing is strong; the singing is solid. Incidentally, is this clicked with pre-records? There was a LOT of male vocals going on considering I spotted four people actually singing. No bother either way, it doesn't matter. PM me.
It's an exact replica production from when it closed (of which I admittedly hadn't seen it for many years prior, so there may have been changes I don't remember), but from what I remember, it's an exact copy in every way of the downsized production. The dancing is very tight, for the first time as I've seen it in London. If you've seen the show and know the material, then its done up to the standard you should expect, coming from a Chicago-skeptic like myself.
Which only really leaves the cast;
- Josefina Gabrielle - she had been in the cast for a previous visit but had been off so I'd seen her very nervous cover. She's very good. Reminds me a LOT of Ruthie in looks, diction - everything. Sings and dances extremely well. From my distant seat appears to be pushing the top end of the age I'd like to see in the character, but it wasn't a problem for now. Sang well, not fantastically powerful but good enough and her strength was her dancing, which was wonderful. A solid hand, not the sort of person you'd book specifically to see, but one you'd be glad you saw as a part of a strong show.
- Alexandra Burke - she was excellent. Hand on heart, truthfully very good indeed. No oversinging whatsoever, very acting and dance focused (she's a very good dancer, which I didn't realise, knowing very little about her). I really enjoyed her portrayal. She felt completely in control throughout - no shortcuts in the choreography/blocking either. She does the cartwheel etc. Her acting initially felt a bit ropey. She seemed to do it in a thick Southern US accent, which didn't entirely fit, but this seemed to ease up to match everyone else's as the show went on. I don't know if this is directed or what she naturally finds as an American neutral accent, but it was a bit hillbilly in the first Act. Overall, superb, singing was very good, dancing perhaps even better. Acting was fine - she got by.
- Martin Kemp - not brilliant. I've seen worse mind (Ian Kelsey). He can't sing very well and struggles keeping steps. Appears to do very little in "Razzle Dazzle" and "All I Care About" - does a weird soft show shuffle thing, which I don't remember anyone else doing on the line 'go into your dance'? Correct me if I'm wrong. It's all a bit awkward. Doesn't cheat the final note of 'Both Reached For the Gun' which is actually one of the strongest numbers of the whole show. So he isn't all bad. Just a bit out of his depth alongside proper singers. Wouldn't recommend but certainly is up to the job in that role, in this show - if you follow my meaning. Oh, American accent very dodgy too.
- Mazz Murray - really good! I certainly wouldn't normally be a fan of Mazz. At all. But she suits this role perfectly as Mama Morton. Can't imagine anyone doing it better really, which is huge praise. It is a bit of a rubbish role though. But she really nails it. Very, very good.
- Paul Ryder - the audience loved this guy as Amos. Why?! He must just click. He's quite short and balding, I guess theres the sympathy thing, especially given how ruthless Roxie was being played. But his singing is barely passable and his accent..?!? He just does the thing in an English accent.
Wasn't sitting there taking notes on the ensemble but I enjoyed them and the show.
Certainly wouldn't rush back at full price; it's as cheapo as it ever was. Desperately needs another 10 on the stage. Look what 42nd Street provides every night! But I'd happily see it again with a cast equal or better than this for £30. Very enjoyable evening and a real surprise, especially considering my expectations.
If I didn't cover anything, please feel free to ask and I'll be happy to answer, if I remember!
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Post by SageStageMgr on Aug 25, 2018 13:31:02 GMT
I'm afraid I didn't! I wish I had! I just find it hard because Julie Andrews is so synonymous with those roles It would have changed your mind, I think. Charlotte Wakefield was just enchanting. Not a copy, but an equal. I saw three ladies doing shameless Julie Andrews impressions. Maybe my issue was rather with the that production. I just wished myself, all three times, to be home watching the movie with a six pack and some nachos. The stage show offered nothing for me. I keep an open mind, but these movies are so iconic to my 6-12 year old self that it does take a lot to overcome.
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Post by SageStageMgr on Aug 25, 2018 10:52:47 GMT
Did you see the Regent's Park Open Air production, though? That was easily as good as the film - even scarier at the end when they transported the entire auditorium back in time to the actual Anschluss period. I'm afraid I didn't! I wish I had! I just find it hard because Julie Andrews is so synonymous with those roles - these films were my childhood. No matter how hard I try, I really struggle to get past it. I know this is my failing and no reflection on the shows themselves, they just personally left me cold each time I've seen them.
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Post by SageStageMgr on Aug 25, 2018 10:15:10 GMT
Mary Poppins, The Sound of Music, The Wizard of Oz, West Side Story
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Post by SageStageMgr on Aug 22, 2018 22:12:53 GMT
Kudos to Caroline Quentin who, at today’s matinee, in her first scene of the 2nd act after ‘the sun has got his hat on’ called out a ringing mobile phone in character ‘... oh please answer it, it could be my agent...’ she received a warm round of applause ... I’m a huge fan of hers. She has a very strong improvisational comedy background - she was a regular on the improv circuit, it’s how she met her ex-husband Paul Merton and she was in the original cast of Whose Line is it Anyway, so adlibs - like some pages back covering a mistake with a pack of cards - are a big part of her ability.
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